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Salla
Tykkä’s practice engages the narrative structures of cinema. Her Cave Trilogy consists of three short
films, Lasso, Thriller, and Cave.
Created over four years, the trilogy seems to move backward and forward in
time, with each piece narrating a fictitious scene from the life of a young
woman. Although Tykkä uses a different actress in each film, the complete work
suggests that the stories follow the development of one person,...

Salla
Tykkä’s practice engages the narrative structures of cinema. Her Cave Trilogy consists of three short
films, Lasso, Thriller, and Cave.
Created over four years, the trilogy seems to move backward and forward in
time, with each piece narrating a fictitious scene from the life of a young
woman. Although Tykkä uses a different actress in each film, the complete work
suggests that the stories follow the development of one person,...

Salla
Tykkä’s practice engages the narrative structures of cinema. Her Cave Trilogy consists of three short
films, Lasso, Thriller, and Cave.
Created over four years, the trilogy seems to move backward and forward in
time, with each piece narrating a fictitious scene from the life of a young
woman. Although Tykkä uses a different actress in each film, the complete work
suggests that the stories follow the development of one person, examining the
transition from puberty to adulthood as well as the psychological relation
between the sexes. One of the most striking aspects of Tykkä’s films is their
focus on the dynamics of looking, and especially of women looking, which is
stressed by the absence of any kind of verbal communication. Instead of
language, music operates as a key interpretive element in her work, much like
in Just’s work. Weaving image and sound together, she triggers memories and
associations in the viewer that go far beyond what is actually depicted. The
music in Cave Trilogy is highly
recognizable, and, even if we can’t name the exact source, it sounds like
something we have heard before. Each of Tykkä’s films mines a different
cinematic genre. Thriller draws upon
the tradition of the horror film, using the film scores from John Carpenter’s Halloween and Brian De Palma’s Carrie. By referencing cinematic
history, Tykkä creates multilayered narratives that strike intense emotional
chords, as she taps into contradictory feelings of desiring both independence
from, and intimacy with, other people, reproducing precisely the spectator’s
predicament.